Mitch Gross

Remote run connector is a bit of a beasty at the moment. The camera has a Fischer8 which is used for a multiple of functions: IRIG (a timecode syncing between cameras and other units), Frame syncing (great for 3D), Strobe (drives the lights to the shutter) and Trigger. Wiring for Trigger is thus: Pin 3 -- ground Pin 8 -- Trigger in Closing the connection triggers the shot. But here's the thing -- it doesn't work right now when using CineMags. With the next firmware build coming soon we expect it to, as a closed continuous contact when running. This camera was originally designed to shoot short bursts of incredibly high speed, so it has a revolving RAW memory buffer (always dumping the beginning to add more to the end. The trigger just said stop recording now and save whatever is in the buffer. Now with CineMags and recording in our more familiar "run/stop" mode the functionality has to be adjusted but it's not done yet. So for now there is a Trigger button on the operator side of the camera. Push to start, push again to stop. Soon enough the remote cable trigger will function. If you leave the camera set in Loop mode as I described above then the trigger does function as I said. Hope this makes sense.

If anyone wishes to wire their own cables, the pinouts for the Fischer3 are: Pin 1 -- +24vdc Pin 2 -- Chassis Ground Pin 3 -- Power Ground Abel would be happy to make cables for your sleds to power directly to the camera. Just let us know the connector & pinout on your sled and the length of cable you desire. Mitch Gross Abel Cine Tech mitch@abelcine.com

Alec asked me about the 24v connection. The camera takes a Fischer3 for 24v. Abel includes with all our cameras a Fischer3 to XLR3 6" pigtail. he XLR3 is wired Arri-standard for 24v. Mitch

With the Phantom HD and the CineMags (the flash-based memory cartridge), the camera no longer needs to be tethered. There are a few parameters that need to be adjusted with the laptop at the start of the day, and then it can be unplugged and all controlled from the camera. The Phantom HD's video output is HD-SDI only. It can be adjusted to any variety of HD-SDI signal you want (720p, 1080i, 1080psf, etc.) and this is one of those little adjustments you make at the start of the day. Then you can use a standard downconverter such as an AJA HD10MD to get an SD signal. All the controls one needs for the shoot day are available on the camera. There is one knob and two buttons and a very simple, intuitive on screen menu. That's all you need to run the camera. The old software was rather, well, let's call it obtuse. But you don't need to deal with it. There should be a Phantom Tech on any Phantom job but really this is quite straightforward now. You might want to have some form of color monitor around if your sled uses a greenscreen; the menus on the Phantom indicate by changing color. Flying a Phantom on a sled is no problem. It is a 24v system and with the CineMag on draws about 4 amps. The camera weighs just over 12lbs. and the CineMag another pound or so. There are no moving parts other than a fan in the back. The camera is PL mount (we have Panavision mount available as well). The Phantom with CineMag is roughly the size & weight of an Aaton 16mm camera -- tiny! Abel makes a special riser for the camera to accept lightweight 15mm/60mm spacing frontrods for standard lens accessories. The CineMag will hold up to 132 minutes of footage when played back at 24fps. That's a lot of shooting. One of the big things with this camera is that whenever one changes the parameters (frame rate, shutter angle, resolution), the Current Session Reference (aka Black Balance) needs to be reset. To do this the lens must be capped (no, stopping down will NOT work properly) and the controls used to make the adjustment. It takes under 10 seconds. This is one of those things the Phantom Tech is supposed to keep track of and deal with. The Phantom HD is really an amazing machine and works great for 24fps as well as high speed work. It out-performs the CineSpeedCam and all of the other similar HD high speed cameras on pretty much every spec. If anyone has any questions about using it, please feel free to ask me. I don't regularly check this forum anymore, so the best way to reach me is at my work email (mitch@abelcine.com) or telephone (212-462-0100). Mitch Gross Technical Director of Rentals Abel Cine Tech

The various grub screws and other lock points should be checked and it doesn't hurt to strap the camera down when making fast moves. We've successfully used the MOVIEtube handheld and on 3-axis remote jibs along with Steadicam with no movement issues. I also highly reccomend the new Arri Digi-cine V-lock plates to hol MOVIEtubes or any other camera very, very securely. Yes they are heavier than standard plates, but they are also incredibly robust and their adjustability makes the grip on the camera rock solid.

Hey guys, long time since I posted to this forum. Thanks to Alec Jarnagin for sending me the link. The Phanton HD offers the best sensitivity, resolution, dynamic range, record time and other specs in high speed. It also can now work untethered thanks to the CineMag flash memory packs, which at 512G can hold more than two hours (played back at 24p) of 1920x1080 HD material. At that res., the camera can shoot in excess of 1000fps. It only weighs about 12ibs, can use a Sony color viewfinder and runs off 24vdc. It comes standard with an ArriPL lens mount (35mm size imager) and the top handle is now flat with standard threaded holes so you can undersling it if you wish. It is both Steadicam and handheld friendly. Abel Cine Tech has these cameras available for rent (and sale) at our New York and Los Angeles offices. If anyone would like to know more about the Phantom HD, please feel free to contact me at mitch@abelcine.com. I don't come to the forum much anymore so I won't see posts here.

I was recently told there would be a release in the fall. No real additional details beyond that.

Just to be clear, when I noted I was under an NDA, it was for a different manufacturer not Boxx. There are a number of things afoot.

We actually have a couple of these in rental at Abel because people ask for them. CVertainly not my favorite item, but they go out a lot and our sales department sells a few as well. It does help smooth a shot for at least a short time, then my wrists start hurting. We just had a guy who shoots from a paraglider come in and hack one up in our machine shop to turn into a hanging rig with a gyro for an HDV camcorder. It actually worked quite well, so there's at least one good use for it. Mitch Gross Technical Director of Rental Abel Cine Tech NY

Anyone in the New York area who might like to see the new Aaton XTR-Prod II should contact me offlist. We have it at Abel Cine Tech for the next week or so before it goes back to France. Production models roll out in the Fall. It is very Steadicam friendly, with a new motor mount arm, various additional power and video ports and a fantastic new progressive scan tap that blows the pants off Arri's. Mitch Gross Technical Director of Rental Abel Cine Tech

It is on the way. Hang on until NAB next year. I've seen prototype. All I can say under NDA.

The new Aaton won't be ready for at least a year, more likely 18 months.

A laser is bad to look directly into because within its incredibly narrow spectrum it is exceedingly bright. If you had all the frequencies of light represented at a similar strength it would be like staring down an 18k at arm's length. But pointed at a wall it is simply a red (or whatever) dot.

Is Phil reading this? ;-)

Just wanted to say that with all the bad puns and double entendres tossed about on this thread, I particularly appreciated this one.

http://w3.isee-ato.com/

And she's topless under the vest. Nice touch.

Check out Switronix. They have a Li-Ion 60w brick that sells at a pretty nice price.

Ouch, Brant. And I'm not talking about the fork.

Check markertek.com, specifically the accessories for their little Delvcam LCD screens. I think they have something that would be compatible.

It was worth the shot to guess. I was so happy to discover how easy it was that I figured I should share the wealth.

Brad-- Just a guess, but do you use a Sony 1041 as your tuner? If so then replacing the connector is ridiculously easy. I opened mine up to discover that it was actually a pass-thru panel mount with a RCA on one side and an F-connector on the other. So for a couple of bucks I got an RCA to BNC panel mount from Markertek and used a Dremel to widen the panel housing just a touch. Took all of 5 minutes.

At least ten pounds more than it should be! It is hard to say because there are so many ways to configure a camera. If it was just camera body with no viewfinder, no lens and no battery, my guess is about 24 pounds. But as Mr. Fletcher noted, that can more than double as the toys are added on. I don't think a functioning unit could come in under 30 pounds.

Sony just announced the new F900R which replaces the F900/3 CineAlta. They needed to release a new model to comply with the new EU regulations about lead-free solder (which is why there's new updates and cameras coming out for just about every camera from every manufacturer, all the way down to a DVX100B). Some upgrades in the new F900R include lighter weight, slimmed down size, less power consumption and a built in downconverter of some kind. Not sure but I think there may be an HD-SDI port as well. No clue as to how soon these cameras will be readily available and unlike the previous upgrades available (a Sony F900/3 is essentially an original design F900 with some software upgrades), the F900R is by necessity a completely new machine so it may be sometime before rental houses replace their stock. It certainly sounds to be more Steadicam-friendly!

Available from Slow-Motion, Inc. in LA. Brad, see my comments on this lens on the Cinematography forum in response to your post there. I believe it is 25-80mm.